Was more nationalist in style than Holst. His works include nine symphonies and other orchestral pieces, film scores, works for band, songs, operas and many choral pieces. Drew inspiration not only from folk songs but also from English hymnody and earlier English composers such as Thomas Tallis and Henry Purcell. Studied with Ravel.

Known for blending art music with practical music. His national quality comes from his incorporation or imitation of British folk tunes and his assimilation of the modal harmony of 16th century English composers.

Finnish composer. At the time, Finland was part of the Russian Empire until 1917 but was culturally dominated by Sweden, which had ruled it for centuries. He was raised speaking Swedish, then as a young man became a committed Finnish patriot learning the language and changing his name from the Swedish 'Johan'.

Became well known as a nationalist composer writing symphonic poems, concertos.

Sibelius is known for his original form. In addition to reworking sonata form, in novel ways, he used divices that have been called "rotational form" repeated cylcling through a series of thematic elements that are varied each time and "teleological genesis". He generates a theme from motivic fragments, sometimes over an entire movement or symphony.  The stages are 1) its first appearance, 2)a statement midway, when the first half of the theme is clear but the second half has not yet found its footing; and 3) the final, definitive form.

Many composers of the early century still found a way to compose tonal music with new flavors and possibilities within the tonality and never abandoned it.

Other composers such as Debussy, Falla, Janacek and Scriabin as well as Messeian, Schoenberg, Berg, Webern moved beyond tonal practice in the early 1900's as each developed a personal musical language that followed its own rules. Even when the tonal center can be identified,, it no longer makes sense to describe the music as tonal, because the harmonic language diverges too far from common practice. The most general term for such music is post-tonal, which embraces all the new ways composers found to organize pitch, from atonality to neotonality.

Satiristic Avant-garde composer who wittily upends the conventional ideas. Instead of the romantic notions of expressivity and individuality and variety, his pieces are all ostenatiously plain and unemotional, using the same slow tempo, similar modal harmonies and puzzling dynamics.

Wrote directions in his music for his players such as withdraw your hand and put it in your pocket, or "that's wonderful!" or "heavy as a sow" used to satirize the music of his contemporaries in their descriptive and programmatic music.

Wrote pieces titled "Three pieces on the Form of a Pear" which was actually seven pieces; "Automatic Discriptions"; Dessicated Embryos which was a moking "quotation from the celebrated mazurka of Shubert (actually it was Chopin's funeral march).

He was a signifiant inspiration for the American avant-garde composers Virgil Thomson and John Cage as well as French composers Milhaud and Poulenc.

Term originated in Italy. Painter Luigi Russolo argued in dead earnest in The Art of Noises: Futurist Manifesto that musical sounds had become stale and that the modern world of machines required a new kind of music based on noise. He divided noises into six families, then he ad his colleagues built new instruments called intuonarumori (noise makers) each capable of producing a particular kind of noise over a range of at least an octave and a half. They composed pieces for these instruments, alone or with traditional instruments, and presented them in concert between 1913 -21 in Italy, London, and Paris.

The movement continued even through 1930s and anticipated or stimulated many later developments, including electronic music, mocrotonal composition and the pursuit of new instrumental timbres.

(1874-1951) Committed to continuing in the German classical tradition and felt compelled to move beyond tonality to atonality and later twelve-tone method. A modernist.

His Tonal Works

Began writng tonal music in late Romantic style. The chormatic idiom of his first important work, a tone poem for string sextet titled Verklarte Nacht (Transfigured Night, 1899) grew from that of Wagner's Tristan und Isolde, while the symphonic poem Pelleas und Melisande draws from Mahler and Strauss. The huge cantata Gurrelieder (Songs of Gurre) outdoes Wagnmer in emotional fervor and Mahler and Strauss in the complexity of its scoring.  Looked toward Brahms in the developing variation and applied it in his own works such as the String Quartet no. 1 in D Minor Op. 7.

in 1908 he began to comose pieces that avoided establishing any not as a tonal center. He did not like the term Atonal but he felt compelled to abandon tonality in part because the heightened chromaticism, distant modulations, and prolonged dissonances of music since Tristan had weakened the pull of the tonic and making its declaration a the end of a piece seem increasingly arbitrary.

In 1921-23 he writes his first twelve tone work Piano Suite, Op 25.

Was teacher of Berg and Webern the three known as the second Viannese School

Method used by Hugo Wolf where he used all twelve chromatic notes while maintaining tonality.

The appearance of a note that has not recently been sounded can give a sense of moving forward harmonically. As a corollary, once the twelfth chromatic note has appeared, there can be a sense of fullness and completion, which Wolf in a tonal context and Schoenberg in an atonal context usd to reinforce the feeling of completion a phrase.

The early stage of Schoenberg's return to form. A cycle of twenty one songs drawn from a larger petic cycle by te belgian symbolist poet Ablert Giraud. Schoenberg scored the text,translated into German, for a woman's voice with a chamber ensemble of five performers who play nine different instruments. In keeping with the pricniple of nonrepetition, the combination of instruments in each movement is unique. The voice declaim s the text in Sprechstimme (speaking voice), approximating the written pitches in the gliding tones of speech, while following the notated rhythm exactly  an innovative idea that blends the traditional notions of song and melodrama. Pierot is a clown who suffers gruesome visions provoked by a moonbeam that takes many shapes.

Neoclassical in that it takes on elements of traditional forms and genres, icluding a waltz , a serenade, a barcarolle, and an aria over a walking bass, reminiscent of Bach.

Student of Schoenberg His twelve tone methods wee more approachable than his teacher's.  His claim to fame was Wozzeck and his Violin Concerto.

His career consisted of 3 Periods:

Russian Period

Wrote his most popular works during this period: the ballets, The Firebirds (1910), Petrushka (1910-11) and The Rite of Spring (Le Sacre du pritemps, 1911-13., all commissioned by Sergei Diaghilev for the Ballets Russes in Paris.

In Patrushka, he introduced several of the stylistic traits that became closely identified with him. The interuptions and juxtaposition of blocks, which he absorbed from the Russian practie of musorgsky and Rimsky-Korsakov, is here linked to the visual juxtapositions of ballet. He also used the borrowing of Russian folk tunes. Here he developed the famous Petrushka chord combining F# and C major triads, both part of the same octatonic scale.

During this period, he used techniques such as Layering - a building up of textures by layering two or more independent strand of music on top of each other; Discontinuity and connection - the patterms within successive blocks are different creating discontinuity, yet the  collection of pitches being used differs by only one new note, leading a strong sense of continuity; Dissonance - most dissonance are based on the scales used in Russion classical music, such as the diatonic and octatonic collections. a staking of two chords a step apart; and timbre linked with motive and variation - he often identified a musical idea with a particular timbre such as the pounding of a chord with the strings with horn reinforcements and the English horn ostinato recurs only in that insrument throughout; and Stark timbres

Used these techniques from the ballets in his small ensemble works as well.

NeoClassical Period

In 1919 Diaghilev asked him to orchestrate pieces by the eighteenth century composer Pergolesi to accompany a new ballet, Pulcinella. While the music was intact, he reworked the pieces applying his distictive stylistic traits.

One of these pieces is Symphony of Psalms for mixed chorus and orchestra.

Serial Period

After Schoenbergs death, the twelve tone method was expanded by younger composers and became referred to as serial music, serializing not only pithc but rhythms and dynamics as well. After 1953, he adapted serial techniques in his music. His best know serial works were In memoriam Dylan Thomas, Threni for voices and orchestra, and Movements for piano and orchestra.

(1874-1954) Created a personal modernist idiom by synthesizing international and regional musical traditions like Bartok. Was fluent compoers in four distinct shperes: American vernatcular music, Protestant church music, European classical music, and experimental music, of which he was the first major exponent. In his matur music he combined elements from all four, using the mutlipicity of styles as a rhetorical device to convey rich musical meaning.

Was the first to use polytonality.

Jocular name for a district in New York where numerous publishers specializing in popular songs were located from the 1880s  through the 1950s. Became an American style of popular song for that era.

The golden age was in the 1910s. By this time several types of these songs had solidified, including waltz, ragtime, and novelty songs. Most of these songs followed a standard form of one or more verses followed by a thrity-two measure chorus in an AABA, ABAB or ABAC pattern. The fucus wasincreasingly on the chorus, where songwriters placed their catchiest rhythms and melodic ideas. Iving Berlin was one of the most prolific songwriters writing songs like God Bless America and White Christmas.

Classic blues - sung primarily by African-American women singers such as Ma Rainey and Bessie Smith. The classic blues singers joined aspects of oral tradition with elements of popular song thanks in part ot W C Handy known as the father of the blues. Handy did not invent the blues but as a publisher, he introduced blues songs in sheet music form as early as 1912, this taking advantage of both the genre's new popularity and the booming sheet music industry.

Delta Blues - Primarily came from the Missisippi Delta region and is associated primarily with male African-American singers and guitarists. In comparison to classic blues, which tended to conform to the conventions of popular song genres, delta blues are more directly rooted in oral traditions, resulting in greater flexibility of textural and musical form and harmonic choices.  Many of the Delta blues singers landed in Chicago.

New Objectivity or New Realism. This slogan represented the new trend emerging from the oppositon to theemotional intensity of the late Romantics and the expressionism of Schoenberg and Berg. The phrase was first used in art criticism and quickly adopted by musicians. Krenek (1900-1991) said the New Objective opposed complexity and promoted the use of familiar elements, borrowing from popular music and jazz or from Classical and Baroque procedures.

In their view, music should be objective in its expression, as in the Baroque concept of the affections, rather than sujective or extreme. The notion of music as autonomous was rejected. Instead it should be widely accessible, communicate clearly and draw connections to events and concern of the time.

Krenek and Kurt Wiell were advocates of the New Objectivity.

French born, moved to New York in 1915 at age 32. Wrote Ameriques to celebrated his now adapted country. in the 1920s came a series of works that laid down a new agenda as a modernist. In these works he amied to liberate compostion from conventional melody, harmony, meter, regular pulse, recurrent bet, and traditonal orchestraton. Offrandes, Hyperprism, Octandre Inegrales, Ionisation and Ecuatorial.

To him sounds as such were the essential structural components of music., which he defined as organized sound, and he considered all sounds acceptable as raw material. He imagined music as spatial to an aural ballet in which what he called sound masses moved through musical space, changing and interacting.

After WWII he began to use new resources of electronic sound generation and the tape recorder to make possible the realization of the sounds he beard in his mind, thus Deserts for winds, percussion and tape and in the tape piece Poeme electronique.

Moved from stringent dissonance in the 20s to a streamlined style in the 30s and 40s that combined modernism with national American idioms. His Homosexuality, and his leftist politics made him something of an outsider, het he became the most important and central American composer of his generation through his own compositions and his work for the cause of American music.

Was influenced by jazz and popular music using stong dissonance. He developed a new style reducing his modernist technique to its essence of counterpoint, dissonance and juxtaposition, then combining it with simple textures and diatonc melodies and harmonies. his later works encompassed a variety of styles. He even adopted some features of twelve tone technique; example, Connotatons.

Most important French composer born in the 20th Century. Studied organ and composition at the Paris Conservatoire. Taught harmony at Conservatoire in 41. Afer war, he taught many important composers of the younger generation, including his fellow Frenchman Pierre Boulez, Stockhausen, Luigi Nono and Ton de Leeuw. Composed many pieces on religiious subjects such as the Qutuor pour la fin du temps (Quartet for the End of time for violin, clarinet, cello and piano, written at a Germny military prison camp in 41 for performance by the composer and three fellow prisoners. Wrote down birdsongs i musical notation and used them in several compositions, where they convey a sense of contemplating the gives of nature and the devine.

Discovered "modes of limited trasposition" which were collections of notes, lie the whoe tone and octatonic scales, that do not change when tranposed by certain intervals; for example, an octatonic scale transposed a minor third, tritone or major sixth will yield the same set of notes. Such scales lake the differentiatio of diatonic scales and so do not create a strong desire for resolution, making them well suited for music designed to suggest contemplation and a negation of desire.

He treats rhythm as a matter of duration not meter.

In addition, his Mode de valeurs et d'intensites (Mode of Durations and Intensities Messiaen created a mode comprising thrty-six pitches, each assigne a specific duration, dynamic leve, and articulation to be used everytime that pitch occured. This inspired Boulez to write the first European work of total serialism.

(191301976) Was concerned primarily with communication. After studying privately and at the Royal College of Music, he spent several years in the late 1930s writing music for films. This taught him to communicate throught the simplest means. He tempered modernism with simplicity to achieve a clear and widely appealing idiom. Was concerned with humanitarian concerns and ideals of public service, manifest in his interes in writing music for children and amateurs.

Wrote Peter Grimes which established his reputation and became the first English opera since Percell to enter the international repertory.

Many twentieth-century composers developed individual styles without departing radically from the past. Tonality or neotonality often, though not necessarily, characterizes their music. Seeking to communicate with as varied a public as possible, these composers offered listeners a thread that can be followed through identifiable themes, readibly audible forms, and programmatic subjects or titles. They tried to inspire performers to champion their music, creating works that musicians are eager to play more than once.

Among these composers is Samuel Barber.

A modernist, reationist. He has been described as being frustrated over trying not only to break away from the influences of the masters but of being frustrated with anything that referred to the past.

Was taught by Messiean. Was influenced by Messiean's Mode de valeurs et d'intensities and the third Quatre etudes de rythme (Four Rhythmic Studies). In these pieces Messiaen created a "mode" comprising thirty-six pitches, each assigned a specific duration, dynamic level and articuation to be used every time that pitch occured. Althought eh pitches were arranged in three divisions, each including all twelve chromatic notes, the piece itself was not serially organized.

This inspired Boulez to write the first European work of total serialism, Structures for two pianos, in which pitches and durations are both serial and dynamics and articulation are used to distinguish row from one another.

Boulez was also involved with electronic music.

Sought to bring into music sounds, approaches and ideas that previously had been excluded. He repeatedly challenged the core concepts of music itself and therby played a leading role in the postwar avant-garde. His music in the late 30s and 40s focused on new sounds, building on the work of his teacher Henry Cowell. He wrote numerous works for percussion ensemble using both traditional instruments and untradional ones, such as tin cans of various size and pitch in Third Construction in Metal and an electric buzzer and electronlically amplified noises in Imaginary Landscape No. 3 (1942). His experimentation with timbre lead to his inventionof the prepared piano.

Created some controversy even today with his challenge that music is found everywhere and even in silence.

  (1929) Created new sound out of ordinary instruments and objects. Wrote Ancient Voices of Children, a cycle of four songs on poems by Federico Garcia Lorca with two instrumental interludes, unusual sound sources include toy piano, musical saw, harmonica, mandolin, Tibetan prayer stones, Japaniese timple bells, and electric piano. Created special effects also from conventional instruments such as players must bend pitch of the piano by applying a chisel to the strings, thread paper in the harp strings, and tune the mandolin a quarter tone flat.

Used many other extended techniques. His music always has a musical purpose such as to help express his reations to the Vietnam conflict, the social unrest oint he United States and the horrors of wars.

Several Western composers became facinated with Asian instruments, sounds and textures such as Tippett, Cage and Partch, Canadian-American composer Colin McPhee, Henry Cowell (after WWII) and Lou Harison who combined intersts in just intonation and inventing new instruments, inspired by Partch, wrote several works that combine Western and Asian instruments.

Takemitsu who was Asian was interested in linking Asian ans Western traditions.

In mid 60s Robert Moog and Donald \Buchla each developed far simpler and more compact sythesizers based on voltage -controlled oscillators. When thee became comercially available in 66, they were adopted by electronic music studios and individual composers around the world.

Morton Subotnick wrote the forst electronic piece using the Buchla synthisizer called Silver Apples of the Moon which was commissioned by a record company, designed to fill two sides of an LP and to be played at home rather than in concert.

The synthesizers were also adopted by popular artists such as the Beales and electronic sythesizers soon became a familiar sound in pop music.

One of the best-known pieces based on textures and process by Krysztof Penderecki for fifty-two string instruments. The score gives few definite pulses or note values, and instead measures time by seconds. Again each instrument has a unique part to play. Each section focuses on a particular kind of sound, using newly invented notation that shows the effect graphically but not imprecisely.
In the first section the players may choose any of four patterns, they may move at different speeds (each as fast as possible), and the exact sounds each produces are indeterminate, but the overall effect is essentially the same in each performance, creating a pricklym interesting texture.

The next section is based on sustained tones, quarter-tone clusters and glissandos between them.

Many of the composers intended their music or at least some of it, to find a place in the permanent classical repertoire alongside the masterpieces of the past, and they designed their works to finctuion in the same way as the established classics, drawing on the art music tradition, proclaiming a distictive musical personalitiy and rewarding rehearsings. Even as they introduced radical new methods as Babbitt, Carter and Crumb did in their  string quartets, these composers continued the goals of modernism. Other works were experimental, intended to try out new methods for thei own sake.

Avant-Garde composers have quite different motivations such as satie and futurism. They challenge accepted aesthetics, even the very concept of permanent classical,and invite listeners to focus on what is happening in the present. The distiction does not lie in what techniques are used, but inthe music's purpose.

Conceived by Cage. By leaving some of the decisions normally made by a composer to chance, Cage created pieces in which the sound did not convey his intentions, but simply were. His approach varied from piece to piece but typically involved choosing a gamut of enements to be included, planning how they were to be selected, and then using chance operations to do the selection. Music of Changes took its name from the acient Chinese book of prophecy I-Ching (Book of Changes), which offers a method of divination by tossing coins six times to determin the answer from a list of sixty four possibilities. For Music of Changes, Cage devised charts of possible sounds (half wre silences), dynamics, and tempose and used the method from the I-Ching to select whivch were to be used, filling in a formal structure based on units of time.

In chance music, some elements are determined by chance, in indeterminancy music, some elements are left unspecified by the composer.

The reworking of borrowed material by earlier composers from Bach and Handel to moernist lide Schoenberg, Ives, and Stravinsky served as inspiration, as did quotations in modern poetry and collage in modern art. But postwar compsers turned borrowing to new purposes, using evocations of older music to carry meanings taht were not availabe by other means. Composers who used this style were: Peter Maxwell Davies (English) drew on chant and English Renaissance music for man works, emphasizing the gulf between modern times and the distant past by distorting the source material or transforming it through modern procedures.

George Roehberg and George Crumb (American composers). Rochberg who had written mostly serial music, found it inadequate to express his feelings on the death of his son in 1964, and turned the next year to works based on borrowed material. Contra mortem et tempus (Against Death and Time) quotes passages from Boulez, Berio, Varese, and Ives and Music for Magic Theater incorporates music from Mozart, Beethoven, Mahler, Webern, Verese, Stockhausen.

George Crumb also often reflects on music of the past,; for example his Back Angels quotes the Chant Dies irae and Schuberts Death and the maiden Quartet.

Stockhausen (German) used borrowed material in several works. Gesang der Jungling, Telemusik, Hymnen and opus 1970. In Hymnen, which was with voices, instruments and electronic sound incorporates words and melodies of many different national anthems. The intention was "not to interpret, but to hear familiar, old, preformed musical material with new ears, to penetrate and transform it with a musical consciousness of today."

Berio (Italian) incorporated most of the scherzo movement of Mahler's Second Symphony  in his Sinfonia and superimposed on it an amplified verbal comentary by an eight-voice ensemble and a musical commentary by a large orchestra. Overlaid on the Mahler are quotations from over one hundred other works, including Strause, Ravel, Berg and Debussy.

Wind Ensemble piece by Karel Husa that was written as a response to the occupation of Czechoslovakia and overthrow of its liberatlizating government by the Soviet Union in August 1968. It combines quoted material with ovious meanings-the same Czech hymn Smetana had used in his Tabor with abstact procedures and uses a variety of modern resources, including twelve-tone methods, indeterminancy, a focus on texture and an all percussion movement.

Received over 7 thousand performances.

One of the pioneers of musical minimalsim was La Monte Young, whose The Tortoise: His Dreams and Journeys (1964) was an improvisation in which instrumentalists and singers come in and out oon various harmonics over a fundamental played oas a drone bya a sythesizer. Terry Riley who once performed in Youngs ensemble experimented with tape loops, short segments of magnetic tape spliced into loops that wne fed through a tape recorder play the same recorded sounds again and again. His most famous work, In C uses a similar procedure with live instruments.

While Young remained an avant-garde experimentalist and Riley moved toward rock music, Three other American composers brought minimalist procedures into art music intended for a broad audience.

Steve Reich worked with phasing in the recording studio with taped loops. Wrote Piano Phase (1967). Later moved away from total minimalism to using the technique for large-scale works.

Philip Glass published twenty works by the time he completed degrees at the university of Chicago and Julliard and his studies with Nadia Boulanger but withdrew all of them after working with the Indian sitarist Ravi Shankar in Paris. Glass's works since the mid 60s have been deeply influenced by the rhythmic organization of Indian music. They emphasized melodiousness, consonance and the simple harmonic progressions and abundant amplification of rock music and have won Glass a large diverse following from rock enthusiast to classical listeners. Wrote the minimalist opera Einstein on the Beach.

John Adams has traced a path from minimalism to a personal style that bends inimalist techniques with a variety of other approaches.

A post-modern technique combinating new and older styles created through quotation or stylistic allusion. Schnittke turned to this style after writing serveral works based on serialism, indeterminacy, and new instrumental sounds. His Symphony No 1 (1969-72) incorporates passages from works by Haydn, Bethoven, Chopin, Tchaikovsky, Grieg, Johann Strauss, and even himself.

John Corigliano also used this style in his opera The Ghosts of Versailles centered around ghosts in the French royal palace, including Queen Marie Antoinette and others slain during the Revolution, and a play staged for their entertainment; the ghosts are rendered with modern serial music and timbral effects, while the play is set in a style based on Mozart operas.

Post modern composers using various styles invoked extramusical meanings and imagry, hoping that listeners would accept unusual sounds if their meanings were clear. Spirituality was a frequent theme, continuing music's long association with religion and the transcendent.

Examples of such composers were: Sofia Gubaidulina (Russian). Almost all of her works have a spiritual dimension, often suggested in the title. Such as the five momements of her sonata for violin and viola called Rejoice!.

John Tavener (English) also has centered on spiritual concerns. After writing works influenced by Stravinsky's serialism and block construction, he joined the Orthodox Church in 77 and began to incorporate elements from its liturgical music.

Murray Schafer, the leading Canadian composer of the era travered a wide variety of styles from neoclassical to avant-garte, yet most of his pieces are based on extramusical inspirations. His orchestral works Dream Rainbow Dream Thunder reflects ideas from the culture of the Inuits, natives of Canada. His most striking is his environmental music. This is music that is to break out of the concert hall. In his work, Music for Wilderness Lake, it is to be performed at sunrise and sunset at a small lake away from human selltements, with twelve trombonists positioned around its shores playing meditative melodies to one another across the water, cued by a conductor in a raft, and joined by animal sounds.

Joan Tower bases her works on images. Siver laders for orchestra features rising lines, either stepwise or leaping by fourths, moving at different speeds amid a variety of textures.